Every Wes Anderson Movie, Explained by Wes Anderson

in Film | June 11th, 2025

That Wes Anderson is perhaps the most assiduous maker of short films today becomes clear when you look closely at his recent work. The four adaptations of “The Wonderful World of Henry Sugar” and three other Roald Dahl stories he made for Netflix were presented as a single anthology film; his slightly earlier feature The French Dispatch didn’t hide the essential separateness of its stories, each one based on an article for a fictionalized version of the New Yorker. Though both Anderson’s fans and critics readily note the increasingly elaborate constructions of his pictures, it’s worth remembering that his career began with a simple short: the thirteen-minute black-and-white version of Bottle Rocket that would evolve into his first full-length work.

Anderson tells the story of not just that first feature but also the twelve that would follow in the new video from Vanity Fair above, mentioning details even dedicated Andersonians may not know. The original, “very, very, very long” Bottle Rocket script got a severe cutting under the guidance of Hollywood producer James L. Brooks. Locations for Rushmore were scouted based on whether movements through them could properly be choreographed to certain British Invasion songs.

Anderson promised the late Gene Hackman that he’d have a “good time” on The Royal Tenenbaums, a promise that went not-quite-fulfilled. When he hired Seu Jorge to sing David Bowie songs for The Life Aquatic, he didn’t know he was already a pop singer in Brazil. When talking to him about The Darjeeling Limited, people tend to call it “The Darjeeling Express.”

Many of these recollections have to do with his inspirations, which for The Darjeeling Limited were specific subcontinental films like Jean Renoir’s The River, Louis Malle’s Phantom India, and Satyajit Ray’s Apu trilogy. Moonrise Kingdom was made possible when Anderson, long resident in France, came to “see America like some foreign country.” Writing The French Dispatch, he looked to the New Yorker as it was under its contrasting first editors, Harold Ross and William Shawn. Asteroid City originated as a kind of tribute to the Actors Studio in the nineteen-fifties. He describes his latest picture The Phoenician Scheme as having been inspired by the work of Luis Buñuel and written for Benicio del Toro, who plays a tycoon out of a “nineteen-fifties Italian movie” subject to “Biblical visions” during his frequent brushes with death. “I haven’t had the moment where I don’t know what I want to do next,” Anderson says at the end of the video. As sure as filmgoers may feel that they know just what to expect from him, he surely has many more surprises in store for us.

A Complete Collection of Wes Anderson Video Essays

Why Do Wes Anderson Movies Look Like That?

Wes Anderson Explains How He Built Asteroid City, the Fictional American Desert Town in His New Film

Wes Anderson’s Breakthrough Film Rushmore Revisited in Five Video Essays: It Came Out 20 Years Ago Today

Wes Anderson’s First Short Film: The Black-and-White, Jazz-Scored Bottle Rocket (1992)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.

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The History of the World in One Beautiful, 5‑Foot-Long Chart (1931)

in History, Maps | June 11th, 2025

In the image above, we see an impressive pre-internet macro-infographic called a “Histomap.” Its creator John B. Sparks (who later created “histomaps” of religion and evolution) published the graphic in 1931 with Rand McNally. The five-foot-long chart—purportedly covering 4,000 years of “world” history—is, in fact, an example of an early illustration trend called the “outline,” of which Rebecca Onion at Slate writes: “large subjects (the history of the world! every school of philosophy! all of modern physics!) were distilled into a form comprehensible to the most uneducated layman.” Here we have the full description of most every political chart, graph, or animation in U.S.A. Today, most Internet news sites, and, of course, The Onion.

The similarity here isn’t simply one of form. The “outline” functioned in much the same way that simplified animations do—condensing heavy, contentious theoretical freight trains and ideological baggage. Rebecca Onion describes the chart as an artifact very much of its time, presenting a version of history prominent in the U.S. between the wars. Onion writes:

The chart emphasizes domination, using color to show how the power of various “peoples” (a quasi-racial understanding of the nature of human groups, quite popular at the time) evolved throughout history.

Sparks’ map, however, remains an interesting document because of its seeming disinterestedness. While the focus on racialism and imperial conquest may seem to place Sparks in company with populist “scientific” racists of the period like Lothrop Stoddard (whom Tom Buchanan quotes in Fitzgerald’s Gatsby), it would also seem that his design has much in common with early Enlightenment figures whose conception of time was not necessarily linear. Following classical models, thinkers like Thomas Hobbes tended to divide historical epochs into rising and falling actions of various people groups, rather than the gradual ascent of one race over all others towards an end of history. For example, poet Abraham Cowley writes a compressed “universal history” in his 1656 poem “To Mr. Hobs,” moving from Aristotle (the “Stagirite”) to the poem’s subject Thomas Hobbes. The movement is progressive, yet the historical representatives of each civilization receive some equal weight and similar emphasis.

Long did the mighty Stagirite retain
The universal Intellectual reign,
Saw his own Countreys short-liv’ed Leopard slain;
The stronger Roman-Eagle did out-fly,
Oftner renewed his Age, and saw that Dy.
Mecha it self, in spight of Mahumet possest,
And chas’ed by a wild Deluge from the East,
His Monarchy new planted in the West.
But as in time each great imperial race
Degenerates, and gives some new one place:

The period of Cowley recognized theories of racial, cultural, and natural supremacy, but such qualities, as in Sparks’ map, were the product of a long line of succession from equally powerful and noteworthy empires and groups to others, not a social evolution in which a superior race naturally arose. Rand McNally advertised the chart as presenting “the march of civilization, from the mud huts of the ancients thru the monarchistic glamour of the middle ages to the living panorama of life in present day America.” While the blurb is filled with pseudoscientific colonialist talking points, the chart itself has the dated, yet strikingly egalitarian arrangement of information that—like much of the illustration in National Geographic—sought to accommodate the best consensus models of the times, displaying, but not proselytizing, its biases.

Note: An earlier version of this post appeared on our site in 2013.

The Big Map of Who Lived When Shows Which Cultural Figures Walked the Earth at the Same Time: From 1200 to Present

Joseph Priestley Visualizes History & Great Historical Figures with Two of the Most Influential Infographics Ever (1769)

10 Million Years of Evolution Visualized in an Elegant, 5‑Foot Long Infographic from 1931

The History of the World in One Video: Every Year from 200,000 BCE to Today

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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How the BIC Cristal Ballpoint Pen Became the Most Successful Product in History

in History, Technology, Writing | June 10th, 2025

If you want to see a tour de force of modern technology and design, there’s no need to visit a Silicon Valley showroom. Just feel around your desk for a few moments, and sooner or later you’ll lay a hand on it: the BIC Cristal ballpoint pen, which is described in the Primal Space video above as “possibly the most successful product ever made.” Not long after its introduction in 1950, the Cristal became ubiquitous around the world, so ideally did it suit human needs at a price that would have seemed impossibly cheap not so very long ago — to say nothing of the seventeenth century, when the art of writing demanded mastery of the quill and inkpot.

Of course, writing itself was of little use in those days to humanity’s illiterate majority. That began to change with the invention of the fountain pen, which was certainly more convenient than the quill, but still prohibitively expensive even to most of those who could read. It was only at the end of the nineteenth century, a heady age of American ingenuity, that an inventor called John Loud came up with the first ballpoint pen.

Though crude and impractical, Loud’s design planted the technological seed that would be cultivated thereafter by others, like Laszlo Biro, who understood the advantage of using oil-based rather than traditional water-based ink, and French manufacturer Marcel Bich, who had access to the technology that could bring the ballpoint pen to its final form.

Bich (the foreign pronunciation of whose surname inspired the brand name BIC) figured out how to use Swiss watchmaking machines to mass-produce tiny stainless steel balls to precise specifications. He chose to manufacture the rest of the pen out of molded plastic, a then-new technology. The Cristal’s clear body allowed the ink level to be seen at all times, and its hexagonal shape stopped it from rolling off desks. Its polypropylene lid wouldn’t break when dropped, and it doubled as a clip to boot. What did this “game changer” avant la lettre cost when it came to market? The equivalent of two dollars. As an industrial product, the BIC Cristal has in many respects never been surpassed (over 100 billion have been sold to date), even by the ultra-high-tech cellphones or tablets on which you may be reading this post. Bear that in mind the next time you’re struggling with one, patchily zigzagging back and forth on a page in an attempt to get the ink out that you’re sure must be in there somewhere.

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Vermeer with a BiC

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.

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Marie Curie Invented Mobile X‑Ray Units to Help Save Wounded Soldiers in World War I

in History, Life, Science | June 10th, 2025

A hundred years ago, Mobile X‑Ray Units were a brand new innovation, and a godsend for soldiers wounded on the front in WW1. Prior to the advent of this technology, field surgeons racing to save lives operated blindly, often causing even more injury as they groped for bullets and shrapnel whose precise locations remained a mystery.

Marie Curie was just setting up shop at Paris’ Radium Institute, a world center for the study of radioactivity, when war broke out. Many of her researchers left to fight, while Curie personally delivered France’s sole sample of radium by train to the temporarily relocated seat of government in Bordeaux.

“I am resolved to put all my strength at the service of my adopted country, since I cannot do anything for my unfortunate native country just now…,” Curie, a Pole by birth, wrote to her lover, physicist Paul Langevin on New Year’s Day, 1915.

To that end, she envisioned a fleet of vehicles that could bring X‑ray equipment much closer to the battlefield, shifting their coordinates as necessary.

Rather than leaving the execution of this brilliant plan to others, Curie sprang into action.

She studied anatomy and learned how to operate the equipment so she would be able to read X‑ray films like a medical professional.

She learned how to drive and fix cars.

She used her connections to solicit donations of vehicles, portable electric generators, and the necessary equipment, kicking in generously herself. (When she got the French National Bank to accept her gold Nobel Prize medals on behalf of the war effort, she spent the bulk of her prize purse on war bonds.)

She was hampered only by backwards-thinking bureaucrats whose feathers ruffled at the prospect of female technicians and drivers, no doubt forgetting that most of France’s able-bodied men were otherwise engaged.

Curie, no stranger to sexism, refused to bend to their will, delivering equipment to the front line and X‑raying wounded soldiers, assisted by her 17-year-old daughter, Irène, who like her mother, took care to keep her emotions in check while working with maimed and distressed patients.

“In less than two years,” writes Amanda Davis at The Institute, “the number of units had grown substantially, and the Curies had set up a training program at the Radium Institute to teach other women to operate the equipment.” Eventually, they recruited about 150 women, training them to man the Little Curies, as the mobile radiography units came to be known.

Note: An earlier version of this post appeared on our site in 2017.

via Brain Pickings

Marie Curie Became the First Woman to Win a Nobel Prize, the First Person to Win Twice, and the Only Person in History to Win in Two Different Sciences

An Animated Introduction to the Life & Work of Marie Curie, the First Female Nobel Laureate

Marie Curie Attended a Secret, Underground “Flying University” When Women Were Banned from Polish Universities

Marie Curie’s Ph.D. Thesis on Radioactivity–Which Made Her the First Woman in France to Receive a Doctoral Degree in Physics

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.

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The Dylatov Pass Incident: Has One of the Biggest Soviet Mysteries Been Solved?

in History | June 9th, 2025

Most of us would go out of our way not to set foot anywhere near a place the local natives refer to as “Dead Mountain.” That didn’t stop the Dyatlov Hiking Group, who set out on a sixteen-day skiing expedition across the northern Urals in late January of 1959. Experienced and intrepid, those ten young Soviet ski hikers had what it took to make the journey, at least if nothing went terribly wrong. A bout of sciatica forced one member of the group to turn back early, which turned out to be lucky for him. About a month later, the irradiated bodies of his nine comrades were discovered scattered in different areas of Dead Mountain some distance from their campsite, with various traumatic injuries and in various states of undress.

Something had indeed gone terribly wrong, but nobody could figure out what. For decades, the fate of the Dyatlov Hiking Group inspired countless explanations ranging widely in plausibility. Some theorized a freak weather phenomenon; others some kind of toxic airborne event; others still, the actions of American spies or even a yeti.

“In a place where information has been as tightly controlled as in the former Soviet Union, mistrust of official narratives is natural, and nothing in the record can explain why people would leave a tent undressed, in near-suicidal fashion,” writes the New Yorker’s Douglas Preston. Only in the late twenty-tens, when the Dyatlov Group Memorial Foundation got the case reopened, did investigators assess the contradictory evidence while making new measurements and conducting new experiments.

The probable causes were narrowed down to those explained by experts in the Vox video above: a severe blizzard and a slab of ice that must have shifted and crushed the tent. Densely packed by the wind, that massive, heavy slab would have “prevented them from retrieving their boots or warm clothing and forced them to cut their way out of the downslope side of the tent,” proceeding to the closest natural shelter from the avalanche they believed was coming. But no avalanche came, and they couldn’t find their way back to their camp in the darkness. “Had they been less experienced, they might have remained near the tent, dug it out, and survived,” writes Preston. “The skiers’ expertise doomed them.” Not everyone accepts this theory, but then, the idea that knowledge can kill might be more frightening than even the most abominable snowman.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.

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Hear What Shakespeare Sounded Like in the Original Pronunciation

in Language | June 9th, 2025

What did Shakespeare’s English sound like to Shakespeare? To his audience? And how can we know such a thing as the phonetic character of the language spoken 400 years ago? These questions and more are addressed in the video above, which profiles a very popular experiment at London’s Globe Theatre, the 1994 reconstruction of Shakespeare’s theatrical home. As linguist David Crystal explains, the theater’s purpose has always been to recapture as much as possible the original look and feel of a Shakespearean production—costuming, music, movement, etc. But until recently, the Globe felt that attempting a play in the original pronunciation would alienate audiences. The opposite proved to be true, and people clamored for more. Above, Crystal and his son, actor Ben Crystal, demonstrate to us what certain Shakespearean passages would have sounded like to their first audiences, and in so doing draw out some subtle wordplay that gets lost on modern tongues.

Shakespeare’s English is called by scholars Early Modern English (not, as many students say, “Old English,” an entirely different, and much older language). Crystal dates his Shakespearean early modern to around 1600. (In his excellent textbook on the subject, linguist Charles Barber bookends the period roughly between 1500 and 1700.) David Crystal cites three important kinds of evidence that guide us toward recovering early modern’s original pronunciation (or “OP”).

1. Observations made by people writing on the language at the time, commenting on how words sounded, which words rhyme, etc. Shakespeare contemporary Ben Jonson tells us, for example, that speakers of English in his time and place pronounced the “R” (a feature known as “rhoticity”). Since, as Crystal points out, the language was evolving rapidly, and there wasn’t only one kind of OP, there is a great deal of contemporary commentary on this evolution, which early modern writers like Jonson had the chance to observe firsthand.

2. Spellings. Unlike today’s very frustrating tension between spelling and pronunciation, Early Modern English tended to be much more phonetic and words were pronounced much more like they were spelled, or vice versa (though spelling was very irregular, a clue to the wide variety of regional accents).

3. Rhymes and puns which only work in OP. The Crystals demonstrate the important pun between “loins” and “lines” (as in genealogical lines) in Romeo and Juliet, which is completely lost in so-called “Received Pronunciation” (or “proper” British English). Two-thirds of Shakespeare’s sonnets, the father and son team claim, have rhymes that only work in OP.

Not everyone agrees on what Shakespeare’s OP might have sounded like. Eminent Shakespeare director Trevor Nunn claims that it might have sounded more like American English does today, suggesting that the language that migrated across the pond retained more Elizabethan characteristics than the one that stayed home.

You can hear an example of this kind of OP in the recording from Romeo and Juliet above. Shakespeare scholar John Barton suggests that OP would have sounded more like modern Irish, Yorkshire, and West Country pronunciations, an accent that the Crystals seem to favor in their interpretations of OP and is much more evident in the reading from Macbeth below (both audio examples are from a CD curated by Ben Crystal).

Whatever the conjecture, scholars tend to use the same set of criteria David Crystal outlines. I recall my own experience with Early Modern English pronunciation in an intensive graduate course on the history of the English language. Hearing a class of amateur linguists read familiar Shakespeare passages in what we perceived as OP—using our phonological knowledge and David Crystal’s criteria—had exactly the effect Ben Crystal described in an NPR interview:

If there’s something about this accent, rather than it being difficult or more difficult for people to understand … it has flecks of nearly every regional U.K. English accent, and indeed American and in fact Australian, too. It’s a sound that makes people — it reminds people of the accent of their home — and so they tend to listen more with their heart than their head.

In other words, despite the strangeness of the accent, the language can sometimes feel more immediate, more universal, and more of the moment, even, than the sometimes stilted, pretentious ways of reading Shakespeare in the accent of a modern London stage actor or BBC news anchor.

For more on this subject, don’t miss this related post: Hear What Hamlet, Richard III & King Lear Sounded Like in Shakespeare’s Original Pronunciation.

Note: An earlier version of this post appeared on our site in 2013.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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An Introduction to George Orwell’s 1984 and How Power Manufactures Truth

in Books, History, Literature, Politics | June 6th, 2025

Soon after the first election of Donald Trump to the presidency of the United States, George Orwell’s Nineteen Eighty-Four became a bestseller again. Shooting to the top of the American charts, the novel that inspired the term “Orwellian” passed Danielle Steel’s latest opus, the poetry of Rupi Kaur, the eleventh Diary of a Wimpy Kid book, and the memoir of an ambitious young man named J. D. Vance. But how much of its renewed popularity owed to the relevance of a nearly 70-year-old vision of shabby, totalitarian future England to twenty-first century America, and how much to the fact that, as far as influence on popular culture’s image of political dystopia, no other work of literature comes close?

For all the myriad ways one can criticize his two administrations, Trump’s America bears little superficial resemblance to Oceania’s Airstrip One as ruled by The Party. But it can hardly be a coincidence that this period of history has also seen the concept “post-truth” become a fixture in the zeitgeist.

There are many reasons not to want to live in the world Orwell imagines in Nineteen Eighty-Four: the thorough bureaucratization, the lack of pleasure, the unceasing surveillance and propaganda. But none of this is quite so intolerable as what makes it all possible: the rulers’ claim to absolute control over the truth, a form of psychological manipulation hardly limited to regimes we regard as evil.

As James Payne says in his Great Books Explained video on Nineteen Eighty-Four, Orwell worked for the BBC’s overseas service during the war, and there received a troubling education in the use of information as a political weapon. The experience inspired the Ministry of Truth, where the novel’s protagonist Winston Smith spends his days re-writing history, and the dialect of Newspeak, a severely reduced English designed to narrow its speakers’ range of thought. Orwell may have overestimated the degree to which language can be modified from the top down, but as Payne reminds us, we now all hear culture warriors describe reality in highly slanted, politically-charged, and often thought-terminating ways all day long. Everywhere we look, someone is ready to tell us that two plus two make five; if only they were as obvious about it as Big Brother.

George Orwell Explains in a Revealing 1944 Letter Why He’d Write 1984

George Orwell’s Harrowing Race to Finish 1984 Before His Death

George Orwell’s Final Warning: Don’t Let This Nightmare Situation Happen. It Depends on You!

What “Orwellian” Really Means: An Animated Lesson About the Use & Abuse of the Term

Aldous Huxley to George Orwell: My Hellish Vision of the Future is Better Than Yours (1949)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.

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Talking Heads Release the First Official Video for “Psycho Killer”: Watch It Online

in Music | June 6th, 2025

On social media, the Talking Heads teased a major announcement on June 5th, leading fans to wonder if a reunion—41 years after their last tour—might finally be in the offing. As one fan put it, “If this is a tour announcement, I am going to freak out!” Alas, we didn’t quite get that. (Maybe next time!) Instead, we got the first official music video for “Psycho Killer.” Directed by Mike Mills and starring Saoirse Ronan, the video helps commemorate the band’s first show at CBGB 50 years ago. You can watch the video above, and footage from CBGB in 1975 her e.

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If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

A Brief History of Talking Heads: How the Band Went from Scrappy CBGB’s Punks to New Wave Superstars

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When the State Department Used Dizzy Gillespie and Jazz to Fight the Cold War (1956)

in History, Music, Politics | June 5th, 2025

It’s been said that the United States won the Cold War without firing a shot — a statement, as P. J. O’Rourke once wrote, that doubtless surprised veterans of Korea and Vietnam. But it wouldn’t be entirely incorrect to call the long stare-down between the U.S. and the Soviet Union a battle of ideas. Dwight Eisenhower certainly saw it that way, a worldview that inspired the 1956 creation of the President’s Special International Program for Participation in International Affairs, which aimed to use American culture to improve the country’s image around the world. (That same year, Eisenhower also signed off on the construction of the Interstate Highway System, such was the country’s ambition at the time.)

For an unambiguously American art form, one could hardly do better than jazz, which also had the advantage of counterbalancing U.S.S.R. propaganda focusing on the U.S.’ troubled race relations. And so the State Department picked a series of “jazz ambassadors” to send on carefully planned world tours, beginning with Dizzy Gillespie and his eighteen-piece interracial band (with the late Quincy Jones in the role of music director).

Starting in March of 1956, Gillespie’s ten-week tour featured dates all over Europe, Asia, and South America. These wouldn’t be his last State Department-sponsored tours abroad: in the videos above, you can see a clip from his performance in Germany in 1960. This touring even resulted in live albums like Dizzy in Greece and World Statesman.

Other jazz ambassadors would follow: Louis Armstrong (who quit over the high-school integration crisis in Little Rock), Duke Ellington, Benny Goodman, and Dave Brubeck (whose dim view of the program inspired the musical The Real Ambassadors). But none went quite so far in pursuing their cultural-political interests as Gillespie, who announced himself as a write-in candidate in the 1964 U.S. presidential election. He promised not only to rename the White House the Blues house, but also to appoint a cabinet including Miles Davis as Director of the CIA, Charles Mingus as Secretary of Peace, Armstrong as Secretary of Agriculture, and Ellington as Secretary of State. This jazzed-up administration was, alas, never to take power, but the music itself has left more of a legacy than any government could. Surely the fact that I write these words in a café in Korea soundtracked entirely by jazz speaks for itself.

Louis Armstrong Plays Historic Cold War Concerts in East Berlin & Budapest (1965)

When Louis Armstrong Stopped a Civil War in The Congo (1960)

Louis Armstrong Plays Trumpet at the Egyptian Pyramids; Dizzy Gillespie Charms a Snake in Pakistan

Dizzy Gillespie Runs for US President, 1964. Promises to Make Miles Davis Head of the CIA

How the CIA Secretly Used Jackson Pollock & Other Abstract Expressionists to Fight the Cold War

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.

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William Faulkner Resigns From His Post Office Job With a Spectacular Letter (1924)

in Literature | June 5th, 2025

Working a dull civil service job ill-suited to your talents does not make you a writer, but plenty of famous writers have worked such jobs. Nathaniel Hawthorne worked at a Boston customhouse for a year. His friend Herman Melville put in considerably more time—19 years—as a customs inspector in New York, following in the footsteps of his father and grandfather. Both Walt Disney and Charles Bukowski worked at the post office, though not together (can you imagine?), and so, for two years, did William Faulkner.

After dropping out of the University of Mississippi in 1920, Faulkner became its postmaster two years later, a job he found “tedious, boring, and uninspiring,” writes Mental Floss: “Most of his time as a postmaster was spent playing cards, writing poems, or drinking.” Eudora Welty characterized Faulkner’s tenure as postmaster with the following vignette:

Let us imagine that here and now, we’re all in the old university post office and living in the ’20’s. We’ve come up to the stamp window to buy a 2‑cent stamp, but we see nobody there. We knock and then we pound, and then we pound again and there’s not a sound back there. So we holler his name, and at last here he is. William Faulkner. We interrupted him.… When he should have been putting up the mail and selling stamps at the window up front, he was out of sight in the back writing lyric poems.

By all accounts, she hardly overstates the case. As author and editor Bill Peschel puts it, Faulkner “opened the post office on days when it suited him, and closed it when it didn’t, usually when he wanted to go hunting or over to the golf course.

He would throw away the advertising circulars, university bulletins and other mail he deemed junk.” A student publication from the time proposed a motto for his service: “Never put the mail up on time.”

Unsurprisingly, the powers that be eventually decided they’d had enough. In 1924, Faulkner sensed the end coming. But rather than bow out quietly, as perhaps most people would, the future Nobel laureate composed a dramatic and uncharacteristically succinct resignation letter to his superiors:

As long as I live under the capitalistic system, I expect to have my life influenced by the demands of moneyed people. But I will be damned if I propose to be at the beck and call of every itinerant scoundrel who has two cents to invest in a postage stamp.

This, sir, is my resignation.

The defiant self-aggrandizement, wounded pride, blame-shifting… maybe it’s these qualities, as well as a notorious tendency to exaggerate and outright lie (about his military service for example) that so qualified him for his late-life career as—in the words of Ole Miss—“Statesman to the World.” Faulkner’s gift for self-fashioning might have suited him well for a career in politics, had he been so inclined. He did, after all, receive a commemorative stamp in 1987 (above) from the very institution he served so poorly.

But like Hawthorne, Bukowski, or any number of other writers who’ve held down tedious day jobs, he was compelled to give his life to fiction. In a later retelling of the resignation, Peschel claims, Faulkner would revise his letter “into a more pungent quotation,” unable to resist the urge to invent: “I reckon I’ll be at the beck and call of folks with money all my life, but thank God I won’t ever again have to be at the beck and call of every son of a bitch who’s got two cents to buy a stamp.”

Note: An earlier version of this post appeared on our site in

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Guidelines for Handling William Faulkner’s Drinking During Foreign Trips From the US State Department (1955)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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The 100 Greatest Paintings of All Time: From Botticelli and Bosch to Bacon and Basquiat

in Art, History | June 4th, 2025

It would be a worthwhile exercise for any of us to sit down and attempt to draw up a list of our 100 favorite paintings of all time. Naturally, those not professionally involved with art history may have some trouble quite hitting that number. Still, however many titles we can write down, each of us will no doubt come up with a mixture of the near-universally known and the relatively obscure, with paintings we’ve been seeing reproduced in popular culture since birth alongside works that made a strong and unexpected impression on us the one time we came across them in a book or gallery. The 100-favorite-paintings list in video form above by Luiza Liz Bond is no exception.

You may recognize Bond’s name from her work on the YouTube channel The Cinema Cartography, many of whose videos — on David Lynch, on Quentin Tarantino, on animation, on cinematography, on the greatest films ever made — we’ve previously featured here on Open Culture. Recently rebranded as The House of Tabula, that channel now makes its aesthetic and intellectual explorations into not just film but art broadly considered.

And though painting may not be the art form with which we spend most of our time these days, it’s still one of the first art forms that comes to our minds, perhaps thanks to its twenty or so millennia of history. It’s from a relatively narrow but enormously rich slice of that history, spanning the fourteenth century to the twentieth, that Bond makes her 100 selections.

Among them are more than a few paintings that longtime Open Culture readers will remember us having covered before: Botticelli’s The Birth of Venus, Bosch’s The Garden of Earthly Delights, Michelangelo’s Sistine Chapel ceiling, Diego Velázquez’s Las Meninas, Fragonard’s The Swing, Goya’s The Dog, Manet’s Luncheon on the Grass, Sargent’s Carnation, Lily, Lily, Rose, van Gogh’s The Starry Night, Klimt’s The Kiss, Matisse’s The Dance, Magritte’s The Lovers, Dalí’s The Persistence of Memory, Picasso’s Guernica, Wyeth’s Christina’s World, and Basquiat’s Untitled. These works and many others constitute a journey through the “world of high symbolism and religiosity to a private space where painters tell their personal stories through images on canvas,” as Bond puts it. Wherever art’s next major destination may be, only human creativity can take us there.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.

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The 100 Greatest Paintings of All Time: From Botticelli and Bosch to Bacon and Basquiat

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